Well, {LINK NOT IMPORTED} is "popular" in the sense that it is public.
{LINK NOT IMPORTED} is for members only. Topics in the Community
tend to be more specific than the ones in this rather general forum.

These will definitely be going into my docu in some shape or form, and
i was wondering the best way to show them..

For example, if youre looking at the website, theres a pic of the
Original Kounts on page 1.. If you're not looking at the site, theres
a promo pic of 5 guys hanging around a cannon..

I was planning on doing a closeup of the guys faces as they get
introduced by the story (only 3 of the members of the pic have agreed
to be interviewed, and only 2 will have video interviews (the third
will send me an audiotape)

Being that i only have this pic as a computer file, how would i best
film what i explained? Print an enlarged pic out on a good printer,
then film the enlarged photo? Have the pic maxed out on screen and
film a portion of the screen? Or if you have a better solution, im
all ears...

Any ideas? I am shooting using a Sony VX-2000 DV and editing with
Final Cut Pro 2(still learning) on a Mac G4/867 with beautifully
working Firewire...

Hi Robert, whats a rostrum camera effect? Rostrum in the dictionary
is like a birds beak or an elevated platform, and i cant see the
connection there... I also dont have any of those programs to see the
effect...

Rostrum camera is what we used to call an Oxberry or any camera
mounted on or over a motion control platform. You mount the
photograph on the platform which can be moved in the X, Y, or by
adjusting the height of the camera - in the Z axis.

These are all programs that allow you to do the same thing using
software. For examples - see any Ken Burns production.

Ok, now i know the effect you mention - It was actually what i had in
mind - just didnt know the name of it..

So the software packages you mentioned can do this effect on a
jpeg/gif already loaded on the system? I recently got an old copy of
After Effects (i think 3.1) that I havent used yet - Ill look in there
and see what it can do...

I was going back through postings in this discussion and was struck by
the filmmaker who was having trouble shooting at construction location
- people on the site where he was filming an independent project were
hostile and suspicious to his activities.

I was surprised that no one mentioned to this individual that in order
to use the footage that he was shooting that he needs releases from
these people or he can't use the material at all.

Thankfully, we have privacy laws in this country that allow action
against people who surveil us in any location of our lives without our
consent or a court order -- this prohibition even applies to
well-intentioned filmmakers.

If this filmmaker does not go back and try to procure permission from
the individuals he was filming, they can sue him. If it has gone to
air, his errors and omissions insurance can be revoked and he will
have a hard time getting any future support to have his work seen
anywhere.

One of the great challenges, it seems to me, in making documentaries
is garnering both the cooperation and trust of those who we are
filming -- in all circumstances. The onus is on the filmmaker to
engage his or her subjects in the filmmaking process, for both ethical
and legal reasons.

Hi, Nina.
Reading the construction site discussion, I thought the same
thing, but isn't there some legal allowance for filming public
events? Where, as the lawyers say, people "have no reasonable
expectation of privacy?"
In an operational sense, I agree that it's always best to have a
signed release, but I have the impression that in certain cases it
isn't strictly necessary.
Am I wrong?

Robert - As you say, there are public figures for whom you do not need
release -- individuals who, by virtue of their public standing are, in
fact, a sort of public property. Government figures would fall into
this category, sports stars may or may not, recalcitrant famous but
reclusive authors probably not, and the list goes on. It is a tough
line to draw - and a harder one to defend in court.

In addition, say you are filming a public person in an event and there
are other "non public" people walking around in front of your camera
and you capture them on film - you can't use them without a release -
even if the focal point of the shot is on this "public person."

But I have a good, and legal, solution to this provided to me by my
very excellent entertainment attorney, which I have been using for
years.

When we are filming in a public arena - an event, a stadium, a crowded
room, a construction site, etc - at the entrance - on a large poster
board - we put up a notice that entering into this space implies
release by all who choose to enter. You shoot that sign with people
reading it (as evidence that it was placed in a location where people
can see it) and you are in the clear.

Sometimes I also put flyers in plain site that people can pick up and
read that lets them know what the film is about and who we are. This
helps to keep questions to a minimum so I and my crew can focus on our
work.

Similarly, I have recently shot in concert locations and have had an
announcement come over the public address system reminding attendants
that we are shooting and we film this announcement as evidence of
informed consent as well. You must be able to show due diligence in
letting people know that the material you are shooting can be
considered for public consumption and that, as individuals, they may
be put on the screen.

But you must attend to these legal details or you can have both
problems with distribution and worse, you may end up invading the
legitimate privacy of individuals who do not wa

I think there's a bit more room than Nina indicated. People attending
public events have minimal right to sue if they are not the focus of
the film. Merely showing someone in the crowd at an event doesn't
require a release. Everyday, the news media photographs people at
events without prior notice or releases. You do need a release if you
isolate someone in the crowd or in the case of construction example
which is not a public event (demonstrations, sporting events,
political rallies, performances in Central Park). There is also the
rule about identifiability. The person in the crowd must be clearly
recognizable and on screen for long enough for someone to recognize
them. The other issue that comes into play is what you say about the
images or the purpose to which the images are used. No one sues
because you shot them unless they happen to be there with someone
else's spouse or use the material to illustrate something contrary to
why they were there in the first place.

So, photograph someone at a political rally for nuclear disarmanment
and use the footage as crowd support for the KKK and you will have
problems. Of course, you will have the same problem whether you have a
signed release from the person or not.

Nina - I've done the poster thing, too. The flyers are a good tip.
I'll keep it in mind. I think the situations the *other* Robert G.
mentioned are more like what I was thinking of. Where people
are truly in *public*.

In a pinch--with interview subjects who weren't able to read a
release, for example--I've also explained what we're doing and
gotten their agreement on camera.

I'm actually not sure if that would be legal or not. Just wanted to
show due diligence.

Just to chip in on the release discussion, I recently shot at a
large tournament in Stockholm and was lucky enough to be able
to get the organizers to mention in their welcome speech that a
film crew was there and if anyone objected to being filmed they
should talk to us us directly, we filmed this verbal (bilingual)
notice and no-one came to talk to us. Hopefully having that tape
will be enough. I realize that a troublemaker could always say
that they did talk to us and we ignored them, but I feel we are
covered. At a previous international tournament our PC had to
collect over 200 signatures from participants from 10 different
countries (and languages), something we did not want to repeat
having to do.

I did learn something about shooting in airports on this shoot
that I never knew before. Apparently airports are 'public spaces'
and a location release or permission is not required to shoot
there, (although with security being what it is it is best to call
ahead and let them know you are coming and what you'll be
doing there.)

My question is, if someone is in an area considered a public
space (ie; an airport) do they have any expectation of privacy? Not
that we were shooting close ups of strangers but as our
character lined up and said his good-byes there were strangers
standing around him who will end up on screen in the
background. What would the situation be there when it is in what
is considered "public space" and there is obviously a film crew
present and working?

I'm a recent addition to the D-Word community as well, but
thought I'd inquire of this forum:

I'm re-directing my career (after 4 years in production at MTV
News & Docs), and am tremendously interested in outreach
campaigning for social impact docs. I'd love any suggestions or
advice about this area of work, as well as any ideas of who are
the best folks to contact to find work in this field. Thanks so
much!

This is Jesse Turner, I'm a film student in Victoria B.C. I am
looking for everyone's personal definition of the "documentary". If
it isn't to much trouble I would really appreciate it if you
contacted me with your full name, an e-mail adress, and your personal
definition (please don't be afraid to be unique and poetic, though
you don't have to.) This is a study I am doing, your work will NOT be
exploited, I am just a very curious individual looking for a
proffesional opinion on the subject. Thank you for your time and
considerations, I am eager to recieve this information and look
forward to becoming closer to this community of brilliant individuals.
(I also think that this topic would make for a good conversation).

How's this...? "A work, such as a film or television program,
presenting political, social, or historical subject matter in a
factual and informative manner and often consisting of actual news
films or interviews accompanied by narration."

I have a pretty simple question. I am in the middle of shooting a
documentary on a local heavyweight bower and have had several
inquires already about it. My question is regarding license fees and
broadcasting rights, how much ? One partcular inquiry came from a tv
station in Indonesia ! I would like to have some idea of the price
range before I blunder in and blow the whole deal! Any information
would be greatly appreciated

I am working on a biographical documentary of a person who was a now
little-known performer (now deceased). I have many photos from the
subjects personal collection, performance stills and studio shots
(for PR). Several dozen I want to use are unattributed... and most
are decades old and none of the surviving friends or relatives have
any idea of who the photogs were. I remember seeing a documentary
several years ago that had something in the end credits along the
lines of acknowledging these unattributed photos... anyone have any
thoughts on this?

HA! You are correct Doug... but what I saw was something atune
to: "The producers have made every effort to attribute
photographs used in this film from the private collections... yada
yada..." which is to ward off lawsuits. In my case this is the
situation... I have made every effort but still want to use these
unattributed photos. Just wondered if anyone else has been in
this position. It is maddening. Thank goodness, just today I got
in touch with a retired big name photog who has many shots that
I need in his files... but I would love to hear from anyone who has
used unattributed photos as cutaways. Thanks!

I think I saw this done recently in Alan Berliner's "The Sweetest
Sound" (http://www.pbs.org/pov/sweetestsound/). He used a lot of
archival family film shots at the beginning (the kind of strange
stuff you find at garage sales) and then ended the film with
something along the lines of "If you know any of the folks in these
films, contact me."

As for your question, I think that if the photos are from the
performer's personal collection, he (or his family) owns the rights.
When you say "studio shots," I assume you mean like a Sears studio
rather than Warner Bros. If the latter, you might need rights from
the movie studio.

Hi, my name is Olympia Stone and I have worked in the tv
production world for a long time and am making my first
documentary. I am just beginning the film festival application
process. Does anyone know anything about how to write a good
synopsis of your documentary for these applications? Is there a
book I can buy? Any advice, tips, information would be greatly
appreciated--thanks!!!

The IFP website has a sample application for attending the IFP
Market's No Borders section. Go to: www.ifp.org. You could also go
to IFP's office in NYC and look at back copies of their market
catalogues. AIVF's office in NY has an extensive library which could
also help.

There's also the Sundance website, where they have the past few
year's catalogues archived. For your purposes, that might be best of
all. I think it's www.sundance.org.

I've got a question about digital transfers. I want to do a 'clone'
of a large format dv tape going to a mini-dv. I don't want a composite
transfer bc I don't want to lose a generation. Does anyone know where
to get this done? Thank

This is probably going to be an incredibly basic question for most of
you, but maybe you can woo me with your expertise?
I'm interested in any info on setting up a Final Cut Pro system that
I'm not likely to get from the Apple people, or any opinions from
people who've used the system in different forms. Specifically, what
types of decks, drives, other accessories are best or preferable? It
might be helpful to know that the project for which I'm inquiring is
being shot on PAL/16x9/DVCAM.
Thank you all!

I'm not so saavy about this forum yet, please forgive me if this was
posted elsewhere. (it contains a new question)

I'm a filmmaker (12 years in the industry) and I'm about to embark
on my first documentary feature.

My topic is rather unique, so I can't reveal it online. Due to the
timely nature of my piece and my relative inexperience in the field,
I'd like to ask some seasoned pros a few key questions regarding:

1. co-productions, ie. finding the right partner(s) to help finance
and/or distribute my feature doc.
2. acquiring film clips and still photos, fair usage laws and public
domain.
3. the discovery of copyrights for films already made, plus
discovery of underlying literary rights of such films.

I'm researching a possible film topic and have spent hours trying to
find comprehensive doc film libraries so I can check out what other
films have been made on this topic. I don't feel like I'm hitting
gold yet. Any sites you would recommend? Thanks.

Donna, have you tried doing a Google search? First, by your subject
+ "documentary film". Then under "documentary film, distributor".
Then you might contact the more prolific doc distributors (ie.
Filmmakers Library, California Newsreel, First Run Features) and
collectives for self-distributed docs like New Day Films.

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